As a ceramicist who focuses in sculptural and functional vessels, I use my work to explore the feminine experience within the patriarchal context, or rather, the confinement of religion. The implications of the first woman tempting sin into existence are nearly incomprehensible. Female representation has been skewed, every action being viewed through this disparaging lens since the dawn of time. There is a sense of blame that has seeped into the very core of female existence. The guilt that Eve must have felt--unsure where the sin began and her body ended-- has been carried like a torch for a millennium, passed from woman to woman. I use the female form and textiles as a guide to navigate this in my work. I am greatly influenced by both because they possess a narrative quality and a rich history of female representation. Like a quilt, our bodies are hereditary, pieced together by our predecessors. I draw upon motifs of flora, the delicate, fleshiness of their forms has been repeatedly paralleled to female existence. In the tactile world of clay, I find a medium that resonates with the organic and malleable qualities inherent to the female experience. Femininity is something that has been typically expressed as impressionable and permeable, molding itself to the needs of society at the time. I see the feminine experience as vitrified and resilient, as worthy of a place in history. Through clay, I explore the interplay between this hereditary blame and guilt and the factors that perpetuate its existence.